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1、标题：Teaching Old Brands New Tricks: Retro Branding and the Revival of Brand Meaning原文：Retro brands are relaunched historical brands with updated features. The authors conduct a “netnographic“ analysis of two prominent retro brands, the Volkswagen New Beetle and Star Wars: Episode IThe Phantom Menace,
2、that reveals the importance of Allegory (brand story). Aura (brand essence), Arcadia (idealized community), and Antinomy (brand paradox). Retro brand meanings are predicated on a Utopian communal element and an enlivening paradoxical essence. Retro brand management involves an uneasy, cocreative, an
3、d occasionally clamorous alliance between producers and consumers.America has no now. Our culture is composed of sequels, reruns, remakes, revivals, reissues, re-releases, recreations, re-enactments, adaptations, anniversaries, memorabilia, oldies radio, and nostalgia record collections.George Carli
4、n, Brain Droppings, 1998Brand extension, the use of an existing brand name to introduce a new product or service (Keller 1993,1998), is an important marketing tactic that has attracted considerable academic interest (e.g., Desai andKeller 2(X)2; John, Loken, and Joiner 1998). However,another form of
5、 brand extension strategy is gaining prominence and requires urgent research attention. Many long abandoned brands have recently been revived and successfully relaunched (Franklin 2002; Mitchell 1999; Wansink 1997), so much so that marketers appear in the midst of a “retro revolution“ in which reviv
6、als of old brands and their Images are a powerful management option (Brown 2001).The rise of retro brands places marketing in an interesting conceptual quandary. On the one hand, marketers are continually reminded of the need for product differentiation, that todays marketing environment demands str
7、ong brand identities and decries imitation (Aaker 1996). On the other hand, contemporary markets are suffused with updated imitations, such as retro brands, many of which are proving enormously popular (Franklin 2(X)2; Naughton and Vlasic1998; Wansink 1997).Brand Revival and RetromarketingThere is c
8、onsiderable overlap among nostalgia, brand heritage, and brand revival. Revived or retro goods and services (we use retro synonymously with revived brands) trade on consumers nostalgic leanings. Familiar slogans and packages, for example, invoke brand heritage and evoke consumers memories of better
9、days, both personal and communal. The success of the Museum Store, Past Times, Restoration Hardware, and similar retailers of “exact“ reproductions and the continuing popularity of heritage-based campaigns for brands such as Budweiser, John Hancock, and Ivory indicate that demand exists for allegedl
10、y authentic reproductions of past brands. The problem with exact reproductions, however, is that they do not meet todays exacting performance standards. Retro products, by contrast, combine old-fashioned forms with cutting-edge functions and thereby harmonize the past with the present (Brown 1999, 2
11、001). In this regard, consider the Chrysler PT Cruiser, which amalgamates the shape of a 1940s sedan with the latest automotive technology to produce a futuristic car with anachronistic styling. Another striking example is Nikes Michael Jordan XI Retro Sneakers. These shoes may look like a monument
12、to 1950s hoop dreams, yet their cushioned soles, aerated uppers, and recommended retail prices are state of the marketing art. Dennys retro diner is an homage to eateries of the 1950s, but its registers are computerized, the kitchen equipment is cutting edge, smoking is prohibited in the dining area
13、, and vegetarian dishes are available for those unwilling to revert to carnivorous habits of yore. We define retro branding, therefore, as the revival or relaunch of a product or service brand from a prior historical period, which is usually but not always updated to contemporary standards of perfor
14、mance, functioning, or taste. Retro brands are distinguishable from nostalgic brands by the element of updating. They are brand new, old-fashioned offerings.FindingsThe New BeetleThe original Volkswagen Beetle was the stuff of motor-enthusiast legend. Created by the pioneering automotive designer Fe
15、rdinand Porsche, with a past grounded in the common classes of Third Reich Germany, the car proved wildly popular across postwar Europe and North America. The Volkswagen Beetle was globally cherished for its durability, economy, user-friendliness, and idiosyncratic design.At the time, it was conside
16、red an exemplary vehicle of the people. Everyone from commune-bound hippies and middle-class couples with children to eccentric multimillionaires drove Beetles. The Beetle even begot a series of live-action Disney movies starring the “Love Bug“ as “Herbie,“ the sentient vehicle with a heart of gold.Tony argues from the perspective of a moderate rationalist laying out a logical argument to ease the tensions between two warring factions. Discounting the intrinsic value of the past, he i
